Eric Clapton / Paris 1974/ 2CD

Eric Clapton ‘s completely unpublished master who came from heavyweight tapers living in the UK is appearing! It is definitely a monaural and audience source full of Paris performances on December 2, 1974 that there is no doubt that mania will be surprised, “Well? Immediately after that, he tried to triumph in England and London, and he knew that the fans had completed “461 Ocean Boulevard Comeback Tour” of this year with continuous performances at Hammersmith Odeon on December 4th and 5th I think that it is contained in the main board, just before that, the Paris performance on December 2, the heavyweight taper owned the sound source of the day that seemed not to exist at all in the past. Because the recording of the cassette of 74 years, the sound quality is not qualities of dompica, it is the “medium” level as an audience recording, but since vocals, guitar, drums and bass are unexpectedly recorded clearly , I think that you can have the impression that it is easy to listen. The set list of this board is different from the set list of this day which is written in the tour · archive of Eric · Clapton’s official fan site WHERE’S ERIC! But after the “Can not Find My Way Home” Clappton , Saying “Wu!” Or after “Willie And The Hand Jive ~ Get Ready”, “Merci · Boku” is clearly said. Since the date of the master of the heavy taper taper is “Paris 2nd December 1974” in the first place, our shop will release it as a performance in Paris believing it. The content is also different from the previous German performance, and of course it is different from the London performance right after. In any case, since it is the first appearance sound source that saw the eyes of the sun for the first time in 44 years, I would like to draw your attention.

Well, let’s see how the performance of this day was positioned in Clapton’s comeback year here.

· June 19, 1974, 20: Warm-up · Gig in Northern Europe for the national comeback tour · June 28 – August 4, 1974: National Tour «August 5, 1974: Release of album ‘461 OCEAN BOULEVARD’» · August – September 1974: Recording the album “THERE’S ONE IN EVERY CROWD” in Miami · September 28 – October 6, 1974: 2 nd National Tour · October 31 – November 6, 1974: First Japan Tour · November 27 – December 5, 1974: Short-term Europe tour November 26: Performance in Hamburg, Germany November 27: Performed in Munich, Germany November 28: Performance of Radigshafen in Germany November 29: Performances in Essen, Germany November 30: Netherlands, Rotterdam Performance December 1st: Antwerp Concert in Belgium December 2: France, Paris performances 【this work】 December 4th, 5th: UK, London performance

Feeling with the great success of the nationwide tour of June, Clapton confident in the re-departure of career, full of willingness to produce, completed until the recording of the next album, and soon will go on tour I understand that. I guess he wanted the fans to hear new songs soon. In this performance, Little Rachel, The Sky Is Crying, Singing The Blues and Better Make It Through Today, and 4 songs are showing off. Especially against Martin and Blackie’s first tour of the nation, on this Europe tour, in the electric set after the acoustic number show off, I got a rare vintage guitar called the tail cut model of 1957 Gibson Explorer made newly We used it all the way. Since this guitar was also announced on the subsequent Japan tour, there will be many old fans who remember. It is distinguished that I am listening to this guitar’s sticky and glossy tone. The interesting thing is that Clapton was considerably drunk on this day, so it turned out that the nationwide tour, which was highly disappointing, worked, but it was repeated here as well. I’m laughing with Hera Rara in a good mood, but I did not like how much the audience was doing this day, although I tried out the intro of Let It Grow, I said “Shallops!” And after the performance of Little Rachel again I’m shouting “Sharap!” Even during the song by Little Wing. I shot at the beginning of I Shot The Sheriff to say “Please stop hurting because you ask, so please do quietly everyone.” It is about announcing. Although it is only a state that it is said to be freaky of drunkards, I also understand the feelings of the audience of Paris who wants to make a noise. Anyway, earlier that Clapton performed in Paris was a performance as a cream at the Palais des Sports performances on June 1, 1967. After that, repeated bands of extraordinary length, as a solo artist for the first time in seven years, it would have been impossible for French clapton fans to boil up. Clapton who throws up and throws it down as it is “noisy!” Can be said that it was “the arrival of youth” which can not be thought from now. However, while receiving such salt correspondence, the French audience seeks angry call of anger after the regular set is over. How delicous it is. Did they expect long for Clapton? And the quality of performance was also bad in this drunken state, and that place is also Clapton ‘s place, it is playing neatly without sacrifice. In the blues medley, we are deciding a solo with a taste while screaming the keys to change to the band, and in Little Wing I am directing a twin lead composition weaving with George Terry with an expansive phrase. And in Singin ‘The Blues and Layla, killer solos like Clapton explode. Clapton on this tour should have thought that “performance is a different thing”. As mentioned earlier, the set list is unique to this period and incorporates many numbers from “THERE’S ONE IN EVERY CROWD”, while others are scattered with the number of the album “461” with good feeling, Tell The Truth, Blues Power, Little Wing, Layla has become a hatred set that reminds me of Derek & The Dominos era. In Layla, we have jointed the Everly Brothers’ standard number “All I Have To Do Is Dream” which was standardized in the subsequent Japanese performance and played instead of piano coda. The look of Clapton of this day is unusual, a black solid turtle shirt and a jeans stand out. Brown color of Explorer’s colliner material that shines there. It is a cool word. Female vocalist Mercy Levy was participating in the back band at this time. After that, she supported Clapton for many years, and her first stage of struggling with the red-eyed struggle after leaving Yvonne Elliman was also this tour. The secret master of the suddenly released heavyweight taper. In our shop, we corrected the pitch which had become low with aged deterioration, and we will deliver it more easily by listening to the sound quality by mastering. It will be released on the limited press CD for the first time only, so please order as soon as possible.

6月からのカムバック全米ツアーの大成功で気を良くし、キャリアの再出発に自信を持ったクラプトンは、製作意欲に溢れ、早々と次のアルバムのレコーディングまで完了し、またすぐにツアーに出たことが分かります。早くファンに新曲を聴かせたかったのでしょう。本公演ではLittle Rachel、The Sky Is Crying、Singing The BluesとBetter Make It Through Todayと、何と4曲も披露しています。特にマーティンとブラッキーで通した1回目の全米ツアーに対し、このヨーロッパ・ツアーではアコースティック・ナンバー披露後のエレクトリック・セットでは新たに入手した1957年製ギブソン・エクスプローラのテールカットモデルというレアなヴィンテージギターをを全面的に使用しました。このギターはその後のジャパン・ツアーでもお披露目されましたので、記憶しているオールドファンも多いことでしょう。このギター特有の粘りと艶のあるトーンを聴かせているのが特徴的です。面白いのは、クラプトンがこの日、相当酔っ払っていたことで、悪評高かった全米ツアーの体たらくがここでも繰り返されていた事が分かります。ご機嫌にヘラヘラと笑っているのですが、この日のオーディエンスの騒ぎ具合が気に入らなかったのか、Let It Growのイントロを弾き出しているのに「シャラップ！」と言い放ち、Little Rachelの演奏後も再び「シャラップ！」、Little Wingの曲中にもまた「シャラップ！」と叫んでいます。I Shot The Sheriffの冒頭ではわざわざ「頼むから馬鹿騒ぎは止めてくれ。全員静かにしてくれないか。」とアナウンスしているほどです。酔っ払いの気紛れと言うしかない状態ですが、騒ぎたくもなるパリのオーディエンスの気持ちも分かります。なにせ、これ以前にクラプトンがパリで公演したというのは、1967年6月1日のパレ・デ・スポルト公演で、クリームとしての公演でした。その後波乱万丈のバンド歴を重ね、ソロ・アーティストとして初めての、7年ぶりの公演ともなれば、フランスのクラプトンファンが沸き立つのも無理からぬ事だったでしょう。それを言下に「うるさい！」と吐き捨てるクラプトンは、今からは考えられない「若気の至り」だったと言えます。しかし、これほどの塩対応をされながら、フランスのオーディエンスはレギュラーセット終了後には怒涛のアンコールを求めるのです。なんと涙ぐましいことでしょう。それほど彼らはクラプトンを待望していたのでしょうか。そしてこの泥酔状態でパフォーマンスのクオリティも酷かったのかと言えば、そこがまたクラプトンらしいところで、ダレることなくきちんとプレイしているのです。ブルースメドレーではバンドに転調するキーを叫びながら味のあるソロを決めていますし、Little Wingでは伸びやかなフレーズでジョージ・テリーとの織り成すツインリード構成を見事に演出しています。そしてSingin’ The BluesとLaylaでは、クラプトンらしいキラーソロが炸裂します。このツアーでのクラプトンは「演奏は別物」と考えていただいた方がいいでしょう。セットリストはこの時期特有のもので、先述しましたように「THERE’S ONE IN EVERY CROWD」からのナンバーを多く組み込んでいる上に、その他はアルバム「461」のナンバーをいい感じで散りばめながら、Tell The Truth、Blues Power、Little Wing、Laylaでデレク＆ザ・ドミノス時代を思い起こさせてくれる心憎いセットになっています。Laylaには、その後の日本公演で定例化した、エヴァリー・ブラザーズのスタンダードナンバー「All I Have To Do Is Dream」をジョイントし、ピアノコーダの代わりに演奏しています。この日のクラプトンのルックスは、珍しく黒無地のタートルシャツにジーンズという出で立ち。そこに映えるエクスプローラのコリーナ材のブラウンカラー。かっこいいの一言です。この時点ではバックバンドに女性ボーカルのマーシー・レヴィが参加していました。この後何年にも渡ってクラプトンをサポートし、イヴォンヌ・エリマン脱退後は紅一点で奮闘した彼女の最初期のステージがこのツアーでもありました。突如公開された重鎮テーパーの秘蔵マスター。当店では、経年劣化で低くなっていたピッチを矯正し、さらにマスタリングによって音質を聴き易くしてお届けします。初回のみの限定プレスCDでのリリースとなりますので、お早めのオーダーをお願い致します。